Cherrelle Skeete on Alterations: Community and Representation within Black British Storytelling

Opening up about the importance of community in the creative process and the need for Black British classics for the culture, actress Cherrelle Skeete shares their experience playing the role of Darlene Holt in the largest ever staging of the play Alterations at the National Theatre, running until April 5th. 

Karl Collins (Horace) and Cherrelle Skeete (Darlene Holt) in Alterations at the National Theatre. Photographer: Marc Brenner

Lynette Linton masterfully directs Michael Abbensetts’ definitive drama, with additional material by Trish Cooke; Skeete passionately outlining, “Michael Abbensetts; he's really important in terms of creative history in that he was the first Black British playwright to be commissioned by the BBC to write a series. That's a big thing in the 70’s. And then all of a sudden, nobody heard anything of his plays.” With a dynamic cast beautifully delivering high-quality storytelling, the play is an expression of the lesser told Guyanese experience in 1970’s London from a Windrush generation lens. 

Cherrelle’s advocacy for representation and positive social impact alongside the dialogue it creates shines through, echoed through their works. 

Community in Action

Lynette Linton’s reputation for fostering an open, accessible, and inclusive rehearsal space is something Cherrelle deeply admires, reflecting on how this approach cultivates an environment where creatives at different stages in their careers feel welcome and involved in the process. The sense of belonging and encouragement in these rehearsal rooms has been invaluable, creating a space where artists can observe, learn, and participate without barriers.

"We've had lots of young creatives and individuals at different stages in their career coming into the space, watching some scenes, and really being part of the space. There is this sense of real community in action happening."

Skeete elaborates, "They’re not getting the full play, but they’re getting little aspects, and they’re like, “Wow, we’re seeing the development." By inviting people from various backgrounds—family members, youth companies, and emerging directors—Linton ensures that the production is more than just a performance; it becomes an experience of shared growth and learning. This method of work is particularly crucial in an industry that can often feel exclusive or inaccessible. By allowing younger generations and aspiring creatives to witness the process firsthand, it fosters inspiration and a deeper understanding of the craft, reinforcing the idea that theatre should be an open space for all. 

In her own endeavours, Cherrelle is co-founder of Blacktress; a grassroots network and support group for Black and multi-heritage womxn actors of the African diaspora. Delving into the catalyst for creating this safe space, “Racism and misogynoir can make you feel as though an opportunity is not yours, then you're self-sabotaging, it's a mindset thing. And it could also be access to advice where you don't even know what's out there. What I wanted to do is bring Black actresses together to have these conversations, like we did back in the 70’s; organise to come up with solutions. My energy has gone into looking at hair and makeup equality for Black and global majority actors- we are each other's best resource.”

Cherrelle Skeete (Darlene Holt) and Arinzé Kene (Walker Holt) in Alterations at the National Theatre. Photographer: Marc Brenner

Black British Classics and Expanding the Canon

One of Cherrelle’s greatest concerns is the absence of widely recognized Black British classics in mainstream theatre. She passionately questions the industry’s neglect of these essential stories and voices, calling attention to the need for a more comprehensive theatrical canon that includes Black British narratives.

“Where are the Black British classics that we have as our revivals? The same way there is Lady Macbeth, or Masha from The Seagull; where are the characters, where are the roles? The same way if you look at any of the American classics, like I played Tonya in King Hedley II written by August Wilson, there are certain roles that as actors, you just want to be able to play. We've been here [UK] long enough as Black British people, there should be plays that sit and the younger generation know about.”

This question speaks to a larger issue of erasure and underrepresentation. While many theatre traditions celebrate historical works, Black British stories are often left out of the revival cycle. Skeete believes that the industry has a responsibility to ensure these narratives are preserved and recognized as integral parts of British theatre history. With a warm glint in her eye, Cherrelle explained, “My self and Lynette spoke about what are Black British classics and specifically things that are away from the Jamaican experience. She's half Guyanese and I'm half small islander; my dad's side are from St.Vincent. There are multiple islands that get underrepresented or misrepresented and each has its own rich history.”

Acknowledging the distinct histories and identities within the Black British experience, Skeete emphasizes that representation should not be monolithic. The Black experience in Britain is nuanced and diverse, and the theatre should reflect this complexity through well-developed, multifaceted roles that celebrate this rich cultural tapestry. Poetically expanding on this, Cherrelle encourages, “It starts with us being curious about our own communities. I am not Guyanese so I knew that I wanted to approach this project the same way I would if I was playing someone who was Ugandan or a Black Inuit in Alaska. Yes, I'm Black, but I don't know that particular experience. So I find what I can connect with, and then let me look at the history of the island, let me approach it like I don't know anything. An example, Guyanese Creolese is a language, not a dialect, and I sat down with a linguist from the University of the West Indies who really broke it down in terms of class and gender differences.” With this open-minded approach, the cast really brings the production the authenticity it deserves. 

Cherrelle Skeete (Darlene Holt) and Colin Mace (Mr Holt) in Alterations at the National Theatre. Photographer: Marc Brenner

Black Women in the 1970s: Reflections on Resilience 

Through her role in Alterations, Skeete has gained an even deeper reverence for the hardships Black women endured in the 1970s. Reflecting on how the struggles of the past still resonate today, the play reveals the long-standing systemic challenges that Black women have had to overcome.

“Black women, we're [still] fighting to be seen sometimes in our workplace, within our families, we're always prioritising everybody else above us, you know, and that is the story of Darlene. The play really gives her an arc to say things that women of this generation are only able to say now; it’s set  based on the 60’s and 70’s but if they could say certain things when they were in their 20’s and 30’s based on what they were going through, what would they say? They're not just the little wife. They'd be having to fight their husbands if they were either being disloyal or just not present. Having to fight the system, whether they're having to strike and fight for equal pay and working conditions, economically they couldn't have their own bank accounts up until ‘75.”

The burdens placed on Black women during this era were overwhelming. Economic instability, gender inequalities, and the fight for labor rights made survival an uphill battle. Skeete speaks to the ways in which Black women had to not only advocate for themselves in the workplace but also navigate difficulties at home, often without sufficient societal support. Despite these barriers, Black women found strength in one another. The community became a lifeline, offering support, guidance, and resources to those in need. Skeete highlights, "They didn’t get proper access to childcare, so it really was about community effort." That sense of collective resilience allowed Black women to forge ahead, despite the numerous obstacles in their way; an intergenerational dialogue.

Cherrelle Skeete (Darlene Holt) in Alterations at the National Theatre. Photographer Marc Brenner

Lifeblood of the Arts

For Skeete, community is not just a theme in her work—it is the very foundation of her artistic practice. She firmly believes that art is most powerful when it is deeply connected to the communities it represents and serves.

“Coming from Brum [Birmingham], we're from quite a specifically Caribbean arts community; these are people that I still go and support, like watch shows or stay in connection with the art that people are putting out. The thing that I'm very proud about Birmingham for, it's a different time now, but I came up in a time when elders were taking young people to Gambia, sending barrels back home; and the Black arts movement was big. So learning about Black theatre through a Black lens, that was my norm.”

Reminiscing on the impact this had, Cherrelle continues, “ I saw literally how art is so deeply embedded within our community and there's no separation. I really saw how it changed and supported my life and also other young people around me. So community is everything; community art is everything.”

This experience cemented her belief that art should be for everyone—not just those with the privilege of access. With a slightly dropped tone, Skeete inserted a big ‘however’; "I’ve had to leave [Birmingham], but whenever I can get the opportunity to go back and do projects, that’s what I try and do." Addressing the gap in Birmingham from grassroots to a sustainably paid creative environment, she spoke soberly, yet hopefully. This commitment to giving back speaks to a larger mission—ensuring that future generations of Black artists have the opportunities and platforms that were not always available to those before them.

Cherrelle Skeete (Darlene Holt) in Alterations at the National Theatre. Photographer Marc Brenner

The Transformative Power of Great Storytelling

Cherrelle Skeete’s insights into Alterations reveal the profound impact of community, representation, and storytelling in theatre. Whether through her acting, her work with the Blacktress movement, or her advocacy for Black British classics, Skeete is dedicated to ensuring that Black voices are heard, seen, and celebrated. Her commitment to fostering an inclusive space in the arts highlights the power of theatre to educate, connect, and inspire—bridging the past, present, and future in an ongoing fight for representation and equity.  Smiling warmly, Cherrelle ended our spirited conversation on a profound final thought-

“We are griots, it comes from this whole oral history. It's literally within our blood. We’re ordinary people doing extraordinary things. Like you said, we have to acknowledge where we've come from in order to know what we're going to do. But also from our perspective, where we're not seen as the outsider, but from a lens where you can look like you, can be like you. You can be different versions of everything and all of it is important.”